♕ On se détend pour le cinquième épisode de Saint-Gilles Reggae Club !
@gregoirebruno aka Godard Jamaïca a encore voyagé dans l'espace et le temps afin d'assembler classiques et reggaes futuristes. 

Et surtout faites du reggae et envoyé vos tracks à Musique Muscle : @user-597893369

The Robotics - Hear This (1987)
The Specials - Do Nothing (1980)
Alternative TV - My Hand Is Still Wet (1981)
Sophia George - Tenement Yards (1986)
Ranking Ann - Feminine Gender (198?)
STA - Ze (2019)
Irie Mona - Lovers Chalice (2019)
RFM - Untitled Dub (2017)
The Ruts - Love in Vain (1980)
Love Joys - All I Can Say (1983)
The Selecter - Train to Saville (1980)
Musique Chienne - Tous les matins du monde (Godard Jamaïca Mix) (2020)

﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
Listen ⇢ radiobeguin.com
Replays ⇢ @radiobeguin
#musicalementnaive

Saint-Gilles Reggae Club #5 (Musique Muscle) (04.05.21)

დღევანდელი ჩვენი სტუმარი არის Stefano Martino 
@stefano-martino-431073272

Stefano Martino - 09 June 2021

Two movements from a performance of Olivier Messiaen's 'Quatuor pour la fin du temps' (1941) by Apartment House - Anton Lukoszevieze, cello, Mira Benjamin, violin, Heather Roche, clarinet, and Philip Thomas, piano. Apartment House's performance is unusual in avoiding dramatic phrasing and use of vibrato etc. It was released on CD alongside Linda Catlin Smith's composition 'Among the Tarnished Stars' (1998), for the same instrumentation.

extract from Olivier Messiaen's 'Quatuor pour la fin du temps' by Apartment House

Live excerpt @Festival Baignade Interdite

IOKOI — TALES OF ANOTHER FELT SENSE OF SELF
Cat #: OUS032
Release date: March 26, 2021
Distributed by Kudos: https://kudosdistribution.co.uk
Label Bandcamp: https://ousooo.bandcamp.com

«To get physical through all the senses and to embrace the other is needed now more than ever. This is the feeling I wanted to translate into sound: raw, intimate, transitional, cleansing and moving. Breathing, embracing and releasing life in all of its facets - imperfect, impermanent, incomplete.» — IOKOI

Sound artist, vocalist & composer Mara Miccichè aka IOKOI presents her most intimate work to date. Following her ‘hypercyberreal’ album «Liquefy», her new multidisciplinary work «Tales of Another Felt Sense of Self» is the result of a three-year collaborative journey inward, reflecting the numerous connections, contradictions, and reflections between the «self», the «same» & the «other».

Combining avant-pop & spoken word with field recordings & mercurial electronic textures, IOKOI researches the very essence of our being in relation to others. She is in search of who and what we are, as we face increasing disembodiment in the digital age. «Tales of Another Felt Sense of Self» demands a re-embodiment of all senses by exploring our routines of listening, seeing, sensing, understanding, and feeling, both in terms of the personal & the collective.

While the EP is being released in digital formats, IOKOI offers three additional layers of reflection: «Tales of Another Felt Sense of Self» is also a multisensory work in collaboration with videographer Michele Foti (IT), olfactory artist Klara Ravat (ES/DE) and visual artist Sarah Parsons (CH).

Michele Foti’s video clips are published online, and a limited-edition booklet & room scent package is available through the -OUS Bandcamp page. 

CREDITS
releases March 26, 2021

All tracks written and produced by Mara Miccichè
Mixed and mastered by VFBM
Cover images by Michele Foti
Graphic design by Sarah Parsons

This is OUS032
www.ous.ooo

Tales of Another Felt Sense of Self

Bloody Life

order on Bandcamp

composition by Zinc & Copper + Leonor Antunes

Robin Hayward - microtonal tuba
Hilary Jeffery - trombone
Elena Kakaliagou - french horn

recorded live on 18 December 2018 at Pirelli Hangar Bicocca, Milan 
recorded by Attila Faravelli and Matteo Nobile
mixed and mastered by Giuseppe Ielasi
curated by Pedro Rocha
photo by Lorenzo Palmieri

discrepancies with F.H. (#1 #2 #3 #4 #5 #6)

Leonor Antunes + Z&C - discrepancies with FH

"In Another Place is constructed from the sounds of found materials, domestic objects and self-made mechanisms. Working between Lucerne, Montreal and Huddersfield, we followed simple cues as instructional starting points, responding to a single word to create a sonic response within a specific time-frame. These prompts became starting points for materially engaged, sonic exploration. Each take was a dislocated, improvisation to no-one, confined to our private studios and homes, our headphones and recorders.

Sounds include recordings of ceramic hobs, seaweed, styrofoam, kitchen foil, balloons, resonant tubes, scrap metal, motors, water pumps, spark gaps, lightbulbs, water, wooden dowels and sand paper. The results were layered, re-situated and mixed by matching time-frames and timbre. In Another Place explores the musical potential of everyday materials through disconnection, interpretation and serendipity" - (Tim Shaw)

--

"What if COVID-19 had never swept the globe? What if our lives were operating as normal?

There would’ve been Anne-F Jacques from Montreal as ame’s fourth artist-in-residence collaborating, in different scales, with a gang of sound artists and musicians; Julia Eckhardt, Phil Niblock, Tim Shaw, Tania Caroline Chen, Yorkshire Sound Women Network and myself right now, here at Dai Hall, a venue for underground experimental music and art scene in Huddersfield.

The luxury of chaos (I miss that now) would’ve been followed by high-spirited laugher.

When Keiko invited me to make a mini album for Takuroku, I romanticised this hypothesis, the ‘what-if’ theory. Every event has a cause. This Takuroku opportunity has given us a chance to thrive, to get back to our individual creative zone, to listen to the world once more.

Thanks to Cafe OTO." - (Ryoko Akama)

TR055 - Ryoko Akama, Anne-F Jacques and Tim Shaw - 'heat, heat, gravity'

1986754

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Night Foundation - Hold That Thought

Playlist and other information available at: https://www.freeformfreakout.com/fffoxy-podcast-177-paradigm-discs-feature/

*The episode includes an interview with Clive Graham of Paradigm Discs.

FFFoxy Podcast #177: Paradigm Discs feature

Label focusing on experimental music, composed and improvised, and all shades between.

extract from Olivier Messiaen's 'Quatuor pour la fin du temps' by Apartment House

anothertimbre

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